Alison Winter

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The Guys of 'Pretty Little Liars' Ranked From Best to Creepiest

As a general rule, the men of Rosewood are, well, kind of creepy. Some are creepier than others, some used to be creepy but have since redeemed themselves, and a few exceptions are simply good guys…for now, anyway. Trust them at your own risk. In honor of the Pretty Little Liars’ winter premiere (set to air on ABC Family tonight), we present to you a ranking of the PLL guys on a scale of best to creepiest - starting with the best.
1. Caleb Rivers (Tyler Blackburn)
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Caleb has been nothing but supportive of our girls – especially Hanna. His priority has always been protecting her. The creepiest thing he ever did was leave Rosewood for the failed spinoff, Ravenswood, where he dealt with ghosts or some such nonsense. We’re just glad he’s back! He proves the men of PLL aren’t ALL bad.
2. Jake (Ryan Guzman)
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Jake was nice. We liked Jake. What happened to Jake? Sure, he was meant to be a rebound guy for Aria, but he could’ve been so much more. He was a martial arts instructor (hot) and he warned Aria about Ezra (smart).
3. Mike Montgomery (Cody Allen Christian)
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Remember when Aria’s little bro went through a phase of breaking and entering? It was a more a cry for attention than actual creepiness, though. The creepiest thing he’s done is date Mona, but he genuinely liked her for some reason.
4. Travis Hobbs (Luke Kleintank)
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Travis was Hanna’s fairly innocuous rebound boyfriend – until she realized that Caleb is the best and there’s no sense pretending otherwise. He was a caring and understanding guy while he lasted, though.
5. Toby Cavanaugh (Keegan Allen)
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Toby started out as a seriously suspicious character. He was a social outcast who had an affair with his step-sister. Then just as he started to show Spencer his sweet side, he was unmasked as one of A’s minions (that black hoodie reveal, though)! He only did it to protect the girls and all is quickly forgiven (even though the whole debacle put Spencer in a MENTAL INSTITUTION). Now he’s a cop.
6. Jason DiLaurentis (Drew Van Acker)
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He’s a past drug abuser with questionable motives and a contentious relationship with his half-sister Alison. But then again, who doesn’t have a contentious relationship with Ali? We still can’t get a read on this guy, but he’s intriguing nonetheless.
7. Lucas Gottesman (Brendon Robinson)
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Lucas started out as a sweet nerd with an unrequited crush on Hanna. Somewhere along the way he started helping Mona with her dirty work and went from sweet nerd to shady nerd.
8. Wren Kingston (Julian Morris)
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This guy’s a doctor so he’s supposed to be somewhat intelligent, right? So why has he kissed not one, but two underage girls (Spencer and Hanna)? Are there seriously not enough of-age women in this town? Also, he seemingly knows more about "A" than he lets on.
9. Noel Kahn (Brant Daugherty)
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What is Noel Kahn’s deal? Will we ever find out? He was one of the few people who knew Ali was alive the whole time. Why did she trust him? Should we trust him? Things were much simpler when Brant Daugherty was on Dancing with the Stars.
10. Det. Gabriel Holbrook (Sean Faris)
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Surprise, surprise. Another older dude with a thing for younger girls. Detective Holbrook has smooched both Hanna and Ali – and he continues to investigate the PLLers. How do you still have a badge, sir?
11. Det. Darren Wilden (Bryce Johnson)
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Detective Wilden was a creepy cop who thought good police work meant blackmailing teenage girls. He’s dead now, but we can’t say he didn’t get what was coming to him.
12. Zack (Steve Talley)
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We were always a bit suspicious about the way this coffee shop owner whisked Aria’s mom away to Austria. Then right before he could become Aria’s new step-daddy, he revealed himself to be a true creep. He got handsy with Hanna and was promptly kicked to the curb by Mama Montgomery. He was also decked by Caleb, once again proving our point that Caleb is the best.
13. Ezra Fitz (Ian Harding)
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Never in the history of teen dramas has there been a more glorified pedophile than Mr. Ezra Fitz. He starts an affair with Aria, his teenage student, basically just so he can dig up dirt on all her friends for a book he’s writing. But at least he’s not "A," right? Why is this guy not in jail?!
We can agree they're all pretty hot though, right? Who do YOU think is the creepiest PLL guy? Tell us on Twitter!
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When The Affair premiered on Showtime in October, it seemed poised to fill the void left by True Detective. A story, told in flashbacks, bookended by police questioning in the present day. A murder. A mystery slowly unraveling. This Showtime drama is full of intrigue. It stars Ruth Wilson and Dominic Wilson as Alison and Noah, two married people whose affair can only spell doom (we’re assuming). If you’re looking for a show to heat up the winter months, this is it.
1. The haunting opening credits.
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The original song "Container" by Fiona Apple always makes us want to play the opening credits twice. Can we get a full version please?
2. The dual perspectives.
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Each episode is split into two parts – “Noah” and “Alison.” We get to see events play out from both of their perspectives, and it’s left to us to decide whose version we believe more. Memory is a funny thing.
3. Ruth Wilson.
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There are already people on Twitter clamoring to get her an Emmy nomination. The former Luther actress plays the three versions of Alison so brilliantly - the Alison in her memory, the Alison in Noah's memory and the Alison in present day. We know she lost a son to tragedy, but she's still kind of a mystery. Thanks to Wilson's performance, we can't wait to find out more.
4. Dominic West.
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As a teacher/writer who doesn't quite fit in with his wife's rich family, Noah can come across as alternately sympathetic and selfish. West plays both sides fantastically.
5. The affair (duh).
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The attraction between Noah and Alison is seriously steamy, but we know it won’t end well. That makes for great television.
6. The lies.
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So many lies. But who’s telling them, and why? We love that the story is being told by unreliable narrators.
7. The mystery.
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Noah and Alison recount the details of their affair to a police detective investigating a murder. We recently found out who was killed, but we still don’t know Noah and Alison’s role in it all.
8. The Montauk setting.
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The beachy Long Island getaway spot makes a great backdrop for steamy affairs and murder. Bonus points to the show for actually filming there.
9. Joshua Jackson.
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Dawson's Creek's Pacey Witter is all grown up and involved in some dirty dealings as shady Montauk rancher (and Alison's husband) Cole Lockhart. We know you've been missing him since Fringe.
10. It’s already been renewed for season 2.
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So you can rest assured that your commitment to season 1 will be rewarded!
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
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But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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FOX
This year was a fantastic one for entertainment and pop culture, and discussion about that entertainment reached a fever pitch with weekly recaps for Breaking Bad, X-Box launching a new device that requires an Internet connection, forcing gamers to interact with one another, and every single album leaking weeks early (… except one).
But what was missing this year was some good old fashioned earnestness. Well, not too old fashioned. The world has plenty of Doris Day musicals. But a nice, balanced amount of earnestness. Unfortunately, artists are all too quick to flip the dial to ironic detachment, afraid of putting themselves out there when every moment of unironic joy looks absurd and endlessly GIF-able. Behold, 2013's pop culture judged on a metric of earnestness:
The Bad
Community: What made Community popular was the audacity with which it attempted to take down titans of pop culture on the budget of a network sitcom. But, after seeing that lackluster Season 4, which all but tipped over into terribleness, what made the show special was its heart. At its best, the show used parodies to express what the characters were feeling. This past season, we saw the shrill attempt at parody, but with absolutely no soul. Occasional glimpses of light peeked out from a skilled writer or an actor, but even promising trailers for the newly Dan Harmonized Season 5 had a lot to overcome.
Man of Steel: Superman is a superhuman being created to live up to the ideal values of humanity. He's kind, he's courageous, and instantly self-sacrificing. That's why to see him in a feature-length Ford commercial that featured 10 times the usual destruction of a superhero film and literally none of the heroism was sickening. Superman alternately seems blandly invested in saving random individuals and yet simultaneously caring not at all about the multitudes in the skyscrapers he ripped down.
Kanye: Kanye West's 2013 album, Yeezus, was a collection of aggressive, experimental tracks that did some interesting things musically but was nowhere near the level of genius Kanye himself proclaimed again and again all summer, fall, and now winter long. But if Yeezy had even left it at bragging, he might have escaped a negative distinction. But instead, he meta-commented on all of his meta-comments about black men in the public eye by refusing to take a single joke at his expense. No matter how fair the jabs were, he insisted each and every time that they were an insult to his, again, supposed genius. In the end, his anger only justified the critics who believe him to be nothing more than an immature thug with delusions of grandeur.
The Great
Frances Ha: Frances is a mess. But one of the many reasons she's floundering is because she's too guileless to survive among her hispter Brooklyn friends and the larger surroundings. She doesn't know when to start a play fight and when to be quietly thankful. She doesn't know how to be cutthroat. And she's summed up perfectly when accused by a see-through-the-B.S. friend that calling herself "poor" is insulting to the actual poor. Frances acknowledges he's right, but then counters with, "If you were me, you'd say you were poor too." She's not always right, but she doesn't obscure how she feels with posturing.
Mad Men: Mad Men's sixth season disappointed many in how it dealt with 1968 and how that very dark, depressing year, full of revelations and assassinations, impacted (or didn't impact) its characters' lives. But this year marked Don Draper's revelation of his past. Finally, after covering it up time and time again, Don Draper finally revealed himself as Dick Whitman and his worst nightmare — he was outcast immediately. Mad Men has always been a very mannered and restrained show, but this season showed the humanity underneath the restrictions of the period. Peggy is a conservative social climber. Pete is angry and cruel, but also cannot stop himself from feeling empathy. Joan is quickly reaching the glass ceiling of not just business, but her own skills. And Don finally admitted who he is.
BEYONCE: Beyonce's secret album dropped just in time for Christmas wish lists and best of 2013 lists. And it's a great pop album, perhaps tinged too heavily by the sheen of newness, but still ambitious, impressive, and as confident in its message as Yeezus was confused. Beyonce is a proud woman and directly stated her feminism isn't lessened because she's also a wife and mother. Her straightforward declarations made up for the past year of hemming and hawing from basically every other female pop star afraid to brand herself a feminist.
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The Confusing
The World's End: The end of Edgar Wright's fantastic genre pastiche, The World's End should be on my unreserved "Love" list — after all, it's one of my favorite films of the year. But while Wright and Simon Pegg created a satisfying conclusion to their Cornetto Trilogy, they also suffered from some of the emotional disconnect systemic of lesser efforts, often using pop culture references as a shorthand to express intellectual ideas that didn't necessarily land as much as an emotional resolutions for the characters played so brilliantly by Pegg and Nick Frost.
Bangerz: Miley Cyrus had her coming out party this year, and she's about as far from Hannah Montana as possible. But her album was featherweight, not quite a summer jam or a more substantial release. It sold well, but broke no records, and the months-long rolling out process spent most of the hype before there even was an album. And for all the twerking and grinding, there wasn't much sexual agency represented in her performances and videos. Instead, Miley objectified herself, which is her choice to make, but does make it harder to endorse her particular brand of modern sexuality.
American Horror Story: Coven: The concept and the surface details of the third installment of Ryan Murphy's anthology series were thrilling. And though the episodes of Coven will continue in the new year, juxtaposing footage of the Civil Rights activists being hit with fire hoses and attacked by dogs while a white male witch hunter stalks and kills all but one of the black characters on the show doesn't inspire much confidence. Even if it's being done with the best and most genuine of intentions (which is generous of me to assume), the high camp style of the show makes it impossible to use the real world as a backdrop in that way.
And the Most Earnest Item of Pop Culture in 2013: Bob's Burgers
Simply, Bob's is my pick for the best thing in pop culture this year because it manages to be completly earest and yet has no shortage of humor. It's warm, it's funny, it's acerbic and frequently heartbreaking. But perhaps a lucky benefit because of its place on a major network, it's also somewhat gentle to its characters, giving them 30 minutes' worth of a break from their stressful lives working at their failing business or being middle school students. It's also one of the most ingeniously weird shows on television, and yet grounds a rain of shrimp, a talking toilet, and a musical tribute to a murdered elephant in character motivations and real stakes. Watching it take off this year and become a hit was satisfying proof that audiences will watch things that aren't cloaked in a protective layer of ironic detatchment.
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If the description of Amy Morton dealing with familial woes in the middle of a desolate, cold location sounds all too familiar, think again. The award-winning veteran stage actress' latest Bluebird, which premiered earlier this week at the 2013 Tribeca Film Festival, is a far cry from her role as George Clooney's sister who reunites with him in snowy Wisconsin in 2009's hit dramedy Up in the Air. In every way possible.
In Bluebird, Morton plays Lesley, a school bus driver in a sleepy working class mining town in Maine whose life is turned upside down when one of the kids she picks up is accidentally left on the bus and is left clinging to life. Lesley begins to break down in the aftermath of the terrible accident, complicated by her own family issues, including having a distant husband who has carried on an affair (played by Mad Men's John Slattery, who Morton described as "very fun, straightforward and down to earth") and her teenage daughter Paula (Emily Meade) who's headed down a wrong path.
"In the beginning of the movie... everybody's trying to get through their day because everybody's in a certain amount of financial trouble because of our economy and it added to that is the isolation of each member of this family," Morton said during a chat with Hollywood.com. "You can tell they're kind of growing apart and after the tragic incident she just begins to unravel. It's a geographical place with the people from that area don't do a lot of talking. There's not a lot of 'This is how I feel' going on."
Of course, it was that very geographical location that made Bluebird the slow-burn of a character study that it is. Morton said that she would drive an hour-and-a-half from Bangor to the small rural town where it was filmed because, as she put it, "there was no way I was gonna be stuck in that town without a car."
"It was smack dab in the middle of Maine in the smack dab middle of winter. It was bleak," Morton continued. "There really was not much to do at all. Nobody wanted a day off, because there was nothing to do. That town was really small and it was a mill town and the mill closed so it had already lost half of its population so the one main street 85 percent of the businesses were closed."
But that depressing isolation wasn't just a place, it was a state of mind for the actors. "Watching the movie I was like, 'Now I get it.' It would not be the same movie had we shot it in Northern New York trying to make it Maine. I think the location and the time of year is absolutely the other character in the movie. It's as important as anyone else in it."
Though it most certainly wasn't the exotic filming location that drew Morton to the script, but the very human story that Lance Edmands' Bluebird tells. "I thought the character [of Lesley] was really good and I thought the story was kind of beautiful and I love the fact that Lance didn't really answer any questions for anybody. To me, it was very much like real life. That's why I liked it so much."
Morton added that Bluebird, which Edmands (making his full-length feature debut) spent three years working on before cameras (on 35mm film, to be precise) even started rolling, "Any progress that's made in the film — and once it's over how you imagine their lives after— it's very true to life in that progress comes in inches. There aren't' huge revelations or changes from, 'I was this person and now I'm this person.' It's how people progress, it's usually very slowly."
Getting to explore these characters and setting is something, Morton —who, in addition to Up in the Air has been seen on the big screen in movies like The Dilemma and on the small screen including shows such as Boss — says this is where being in a small indie has the advantage. "I haven't done a lot of films, so I don't have a whole lot to compare it to, but to compare this to a big budget movie with big stars in it, yeah there's a big difference," Morton explained. "You get paid more when you work with the stars but I guess what makes up for it when you're doing a low budget independent film is that you get more time."
"When you're doing a big budget film you feel the pressure to get your work done because time is so much money," she said, adding, "Whereas on this film you get the luxury of a little bit more rehearsal time and discussion time, so you feel a little bit more relaxed about exploring. You don't feel under the burden of the mighty dollar. It's a more relaxed set because you're not spending a gazillion dollars a day. They scraped and begged and worked very hard for every dollar that they raised for this thing, so it's not like they weren't aware [of money]. Everybody's on the same page, nobody is making more than anybody else or anything like that, so you have a more relaxed atmosphere."
But for Morton, who recently wrapped up the Broadway revival of Who's Afraid of Virginia Woolf?, noted that there's no preference when it comes to creating art, big budget or otherwise. "I like it all," Morton told Hollywood.com. "I like stage work and I like film work and I also direct, so it's all really good. I feel very lucky that I get to work in this business in a couple of different ways."
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The Sundance Film Festival is the premiere place for cinema buffs to soak in films rooted in every corner of the globe. Movies that dabble in every genre and utilize every stylistic trick in the book. The fest also provides a glimpse into the future: although most of the films that play at Sundance arrive without big name distributors attached to them, rarely do they walk away without a company primed and ready to release them to the general public. Meaning, if you're not at Sundance now, you'll be watching the movies one way or another before the year's end.
Sundance 2013 follows the buying trend, with a handful of movies being picked up by movie studios in the last 24 hours. Here is the first wave of festival purchases — indicating these movies are right around the corner for you to see.
Daniel Radcliffe washed away any memories of Harry Potter, thrilling us in the Beat poetry-infused Kill Your Darlings. Sony Pictures Classics obviously felt the same way, as they've purchased the film, which also stars Dane DeHaan, Ben Foster, Jack Huston, and Elizabeth Olsen, for an unknown release date (but put your money on the fall or winter — this one could have award season legs).
The Way, Way Back, feature directorial debut of Nat Faxon and Jim Rash, the Academy Award-winning writers of The Descendents, was buzzing up a storm after its premiere at Sundance, many comparing it to the uber-successful Little Miss Sunshine. Further strengthening the analogy, the film has been bought by LMS studio Fox Searchlight for the pretty penny of $10 million. The movie stars Steve Carell, Toni Colette, and Sam Rockwell.
We praised the hilarious Jennifer Coolidge for her work in Austenland earlier this week, and now the film has found a home at Sony Pictures Classics. SPC bought the film $4 million and will release the Keri Russell-led comedy this summer. Expect the name of Austenland's producer, Twilight author Stephenie Meyer, to be on all of the posters.
The Weinstein Company is always on the hunt for potential Academy Award contenders, and it may have found one in Fruitvale. The true story focuses on police brutality and sports a performance by young star Michael B. Jordan that is wowing audiences. In a press release, studio mastermind Harvey Weinstein said of Fruitvale, "I was completely amazed by this incredible film. This earth-shattering story is one that needs to be told, and we are honored to be able to share Oscar’s story with audiences everywhere." Oscar's story indeed.
Will audiences turn out to see Naomi Watts and Robin Wright sleep with each other's kids? Exclusive Releasing hopes so, as they've picked up the drama Two Mothers, which will roll out in limited release this summer.
CBS Films has picked up the throwback comedy Toy's House, which conjured up memories of movies like The Goonies and Stand By Me when it premiered earlier this week. The movie stars Nick Offerman, Megan Mullally, Alison Brie, and a number of kids ready to break out.
Lovelace, a biopic of Deep Throat headliner Linda Lovelace starring Amanda Seyfried, only premiered in the late hours of Tuesday night. But that didn't stop it from being quickly snatched up, with Weinstein Company's multi-platform offshoot company Radius picking it up. Like last year's Bachelorette, expect Lovelace to pop up on VOD before making its way to theaters.
In the genre market, eOne has bought the distribution rights for the frightening horror remake We Are What We Are. No word on when the midnight movie may make its way to theaters. What's the best month for cannibal movies?
Finally, we reported earlier this week that Relativity picked up Joseph Gordon-Levitt's porn-infused feature debut Don Jon's Addiction, with a promise to pour major bucks into its release. Another Sundance movie targeted for a strategic summer release.
[Photo Credit: R. O'Neil/INFphoto]
Follow Matt Patches on Twitter @misterpatches
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David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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The British actress, who plays Lady Sybill in the hit U.K. drama series, is said to be in the running to star opposite Chris Evans in upcoming sequel Captain America: The Winter Soldier.
Directors Joe and Anthony Russo are said to have put together a shortlist of five actresses for the lead female role in the film, taking over from British star Hayley Atwell who appeared as the superhero's love interest in 2011's Captain America: The First Avenger.
Findlay is on the list along with Game of Thrones star Emilia Clarke, Australian actress Teresa Palmer, 28 Weeks Later's Imogen Poots and Mad Men star Alison Brie, according to Deadline.com.
Captain America: The Winter Soldier is due to hit cinemas in 2014.

Chris Remi is a responsible mostly serious accountant with the nickname Goat of Fire. Tony is his younger brother a struggling actor who's popular with the ladies and goes by the nickname Smiling Fish. When their parents die the two must learn to adjust to life without Mom and Dad. Meanwhile Chris attempts to reconcile with his estranged wife before meeting an Italian beauty while Tony must decide what he wants when he meets his perfect match.
Chris and Tony played by real-life brothers Derick and Steven Martini respectively are relatively newcomers to the big screen and their acting doesn’t necessarily leave a lasting memory. They’re brothers playing brothers no real stretch there. The best performance by far is provided by Bill Henderson who plays Clive Winters -- a retired soundman from Hollywood’s Golden Age. Clive warms up to Chris taking him under his wing to teach him a thing or two about the wonders of love and weaving the films various subplots into a sweet package.
Director Kevin Jordan also wrote this film with the Martini brothers and produced it on a shoestring budget of $40 000. Clearly then it's all about the story. Shot in Los Angeles over 12 days Jordan draws you in with the appealing story line wins you over with some comic relief and keeps you hoping that each brother will get his girl.